ecoculture, geophilosophy, mediapolitics

Posts Tagged ‘ecocinema’

At long last, Shane Denson’s and Julia Leyda’s anthology Post-Cinema: Theorizing 21st-Century Film has come out in Catherine Grant’s Reframe Books open-access series. This mammoth anthology features some of the leading theorists of our cinematic/media moment including Lev Manovich, Steven Shaviro, Richard Grusin, Vivian Sobchack, Francesco Casetti, Patricia Pisters, Mark Hansen, and many others. It includes an […]

My review of Graham Harman’s recent book Bruno Latour: Reassembling the Political, has been published online in the journal Global Discourse. It’s part of a book review symposium, which will be accompanied (in the print issue) by the author’s reply to his interlocutors. The journal has been publishing a lot on Latour’s political theory (see here). I especially […]

Cross-posting from e2mc: I’ve begun teaching a course on film and ecology and using my book Ecologies of the Moving Image as the main text. Since the topic is related to the theme of this blog, and since I’ll be creating reading guides and posting links to film clips and related materials for my students, […]

Ecologies of the Moving Image is a book of ecophilosophy that happens to be about cinema, and about the 12-decade history of cinema at that. What makes it ecophilosophy? It is philosophy that is deeply informed both by an understanding of ecological science and an interdisciplinary appreciation for today’s ecological crisis. Why cinema?

Here are my notes from Day 2 of the Moving Environments workshop in Munich. The same caveats apply as yesterday: they’re hastily typed up and reflect only my own interpretation of what transpired. If any of the participants would prefer not to have their ideas shared in this way, I will be happy to remove […]

What follows are notes from the first day of Moving Environments: Affect, Emotion, and Ecocinema. These are, needless to say, my own hastily drawn up notes (and I’m still a little jet-lagged from my arrival yesterday). Forgive the point form and abbreviation inconsistencies. Any errors are my own; any wonderful ideas are other people’s, unless […]

Gilles Deleuze’s cinema books make for difficult reading, and if one is to make headway into them, it helps not only to know something about Bergsonian philosophy, Piercian semiotics, and the history of film, but also to have clips at hand of the films Deleuze discusses. Fortunately, Corry Shores has been very helpfully compiling such clips, with excerpts from the books, at his Deleuze Cinema Project 1 blog site. [. . .]

As an art form of time, cinema can help us arrive at a more adequate understanding of the nature of time. If Deleuze is correct and the production and dissemination of a “direct” image of time within cinema expands our capacity to conceive of our own and the world’s temporality — or, rather, expands our capacities for ethically inhabiting time, for thinking, feeling, and affectively being with others, for generating productive syntheses in the differential fabric of the world, for becoming — then moving-image media hold great potential for our ability to understand and visualize the relationship between the world and ourselves in our common nature as time, duration, becoming, and change. [. . .]

The photos are a bit too beautiful to resist sharing. And the stories taken from the archive of the already screened: “like scenes from Mad Max,” “like waking up on Mars,” “like a nuclear winter morning”. . . White urban Australia’s dreamtime apocalypse of being taken over by the Outback, the uncanny aboriginal sacred that […]